Somthin's Gotta Give
on the RadioWe may be splittin' some seams here. We crammed
in more than is considered 'safe'. March 11th on
Hammered By
The Blues (every Sunday on
KOWZ 1170AM at10pm) we will servin' up all
you can handle and more. The first portion dropped
on yer tray is from Jumpin' Jack
Benny as he leaves us dyed, fried and
laid to the side off 'I'll Be
Alright'. Then Paxton
Norris keeps the pressure up with a heavy
load off 'Something's Gotta
Give'. Hang on tight as we provide a
mighty blast of horizontal gale force from
The Funky Butt Brass Band as they
school ya St. Louie style with the breeze off
'You Can Trust The Funky Butt Brass
Band'. Toppin' you off and makin'
sure everything is fastened up tight, Amy
Hart lays hands on ya and caresses with a
little magic off
'Congratulations'. Ain't
no better way to make sure you got a good
fit!

We specialize in
custom, but we will do it all;

Make an appointment, we
appreciate the call; Our goal
is to make you happy and provide just what you
need;

The Emory University Mood and Anxiety Disorders Program& The Sean Costello Memorial Fund for Bipolar Research

WHAT:The
Emory University Mood and Anxiety Disorders Program and The Sean
Costello Memorial Fund for Bipolar Research are sponsoring a series of
lectures on bipolar disorder, accompanied by performances by creative
people who have been diagnosed with bipolar disorder. The topics
are appropriate for any audience, including families, caregivers,
educators and people wanting to know more about the disease.

The
second lecture in a series, "Bipolar Disorder and Alcohol Dependence"
will be held at the Briarcliff Campus of Emory University. Light
refreshments will be provided. For more information please contact Debbie Smith.

We have the latest in Blues Society news. Chris A has our feature interview
with Big Bill Morganfield.

We have six CD reviews for you! James "Skyy Dobro" Walker reviews a new CD by
Catherine Russell. Gary Weeks reviews a new Jimi Hendrix CD. Ian McKenzie
reviews a new CD from Guitar Not So Slim. John Mitchell reviews a new CD from
Hans Thessink. Mark Thompson reviews a new CD from
The Jimmys. Greg “Bluesdog” Szalony reviews a new CD from Carolyn Fe
Blues Collective. All this and MORE! SCROLL DOWN!!!

R.I.P.
Louisiana Red 1932 - 2012

The Blues
world lost another legend this week with the passing of Louisiana Red.
Our friend Bob Corritore sent us the sad news:

"RIP
Iverson Minter AKA Louisiana Red March 23rd, 1932- to February 25, 2012.
It is with a heavy heart that we report the passing of one of the
greatest and most beloved traditional blues artists. Louisiana Red died
at a hospital in Germany after a few days in a coma brought on by
thyroid imbalance. He was 79. Louisiana Red was a powerful downhome
blues artist who could channel his teachers (among them Muddy Waters,
Elmore James, Robert Nighthawk, Lightnin' Hopkins and John Lee Hooker)
into his own heartfelt musical conversation, delivered with such moving
passion and honesty that it would leave his audiences indelibly touched.

He was fine singer with a distinctive voice, and an amazing guitarist
who could play all of the traditional blues styles and excelled as one
of the world's greatest slide guitarists. He could create moods and
textures, both musically and spiritually, and had the ability of falling
so deep into his own songs that he would go to tears, making his
audience cry with him. That was the gift of this great artist.

Wikipedia
lists Louisiana Red as being born in Bessemer, Alabama but his own
reports have fluctuated from various Southern towns and cities. Red lost
his mother at birth and his father was killed in a Ku Klux Klan lynching
when Red was just 5 years old. He lived in an orphanage in New Orleans
for a few a his childhood years until his grandmother took him to
Pittsburgh to live. A few years later she bought him his first guitar, a
$12 Kay." READ
MORE.....

Featured Blues Interview - Big
Bill Morganfield

We
caught up with Big Bill at the
Dayton Blues Society
Winter Blues Showcase at Gilly’s in Dayton on January 21st, 2012.

Blues Blast:Welcome to Dayton Ohio sir. Tonight, you're
headlining the Dayton Blues Societies Winter Showcase. Have you played
Dayton in the past?

"Yes, I played Dayton about five years ago and I remembered it
when I pulled up to the hotel, I was a bit younger, I don't think I was
the player that I am now. I've got more grease on me than I did then so
I'm looking forward to kicking some butt out here!"

BB: You didn't make the decision to pursue a career as a
full-time gigging musician until you were in your 40's. What prompted
that move?

"Well it was my father passing away, it took me awhile to decide
to make the move. I've got a solid education with degrees in English and
Communication, one from a major white university and one from a major
black university and that was my thing. I spent so much time in college
and now I play the blues! Who would have known."

BB: What were you doing before you made your career change?

"Man, a lot of different things. I've been a DJ, I've had my own
radio slot with WIGO and I worked at repossessing cars! It was like
having a real job but I got out of it. You're chasing people who don't
want to pay bills. It's like taking a mans horse back in the old west.
People don't want to give up their horses."

BB:
Did you encounter any resistance from your family or friends about your
decision to go on the road and become a blues artist?

(Laughter) "Oh man, my friends and family thought I was crazy,
even my wife. The question was why are you sitting around with a guitar
playing the blues? It didn't go over very well at all until I got my
first award."

BB: In 1999 your exceptional record, Rising Son was
released and was given a big thumbs up by the blues community. How
vindicating was it for your music to be recognized on its own merits?

"Well you know I cried. Then I got in my car and drove down the
street yelling “Yes” out the open window. People must have thought I was
crazy riding down the street screaming “yes!” It was like the people
said to me , “Okay, you're Muddy's son but we're going to put our stamp
of acceptance on you for being the best new blues artists of 2009, the
best blues artist in all of America.”"

BB: One has to imagine that being the son of a genuine music
legend can be a two edged sword. What's the upside to being the son of
Muddy Waters and what are the downsides?

"Well the upside is that people will listen. A lot of people in
the music business won't give you a chance, but it opened some doors for
me. The downside is that you better be ready and you better be razor
sharp because they are going to compare me to my Muddy Waters. With me,
people have expectations, they expect me to be the blues. It's tough
sometimes but I've done all right with it."

BB:
I think it's refreshing that you're “Big Bill Morganfield” and not “
Muddy Morganfield” or something along those lines.

"I'm not interested in piggy-backing on my fathers name. Let me
put it like this. I'm a proud man. Period. Not just Muddy's son. I'm a
proud man and I have standards and one of them is not to be a copycat.
There's nothing special about copying anyone. That's not the same as
playing Muddy's songs. You think about every blues musician that becomes
famous. Howlin' Wolf is Howlin' Wolf, Muddy Waters is Muddy Waters,
T-Bone Walker is T-Bone Walker, and all those guys bring something to
the table. America isn't a stupid country and we're not stupid people.
We understand the beauty of being an individual and being yourself and
being original is important."

BB: When you play the blues, how much of an influence is your
father, his music and his style?

"Well you know, he's the greatest influence on me and my style.
He's my father. He did it before me but I do want to do it my own way."

BB: You were raised by your grandmother in Florida while your
father did his thing in Chicago. Later in life, how close were you able
to get with your dad?

"Pop and I got tight later in life. I always looked at myself as
the son who got away. I was born in Chicago and at three months old my
mother took me to South Florida and gave me to her mother. She said she
wasn't ready for me so my Grandmother took me and raised me. My life has
been different, I would have liked to have known my father better. There
again, I don't know what would have happened had I known him better.
However, knowing him as I did led me to what I'm doing today."

"There
were so many things I wanted to ask pop but he died. There were so many
things I wanted to know. I wanted to know why certain things happened
the way they did. A lot of my questions were answered when I stepped
onto a stage and started doing what he did. I got my answers but I had
to pick up a guitar and walk in his steps to get those answers. As I got
a chance to see what was coming at me as far as women and things like
that, it gave me a better understanding of what came at him. You know
and maybe why, it went down the way it did between us."

BB: Life on the road as a performer is tough. Long hours, lots of
driving, tons of waiting around and usually little of the glamour people
often assume comes with the territory. With that being said, are you
living your dream?

"I'm living my dream because I'm doing what I want to do. I think
this is my destiny. I think every man has a destiny. I think its
important for everyone to figure out where we fit in on the planet.
Everyone has to find their spot in the big scheme of things."

BB: I understand you have a new record coming out?

"Yes, it's in the can, I need to do some polishing up on it and it
is good! We're not sure when it's going to be released, it's done,
that's the good thing. It's stressful doing a record when the record
company is paying for everything, but when you're doing it yourself,
it's pretty damn taxing and mentally challenging. Making records ins't
free, it costs more than what people think it does especially at the
level that I make them at."

BB: Where can people find out more about you Bill?

"Just Google me! You'll find out more stuff about me than I even
know! I do have a website but I have don't have a lot of time but I have
my fingers on every facet of the business. You can visit my website at
http://bigbillmorganfield.net/
."

I need to
immediately thank Catherine Russell and her producers for this
wonderfully educating and entertaining album. Sadly, my knowledge of
1930s-40s-50s era artists is limited to mainly name recognition. In her
fourth CD, we hear one of today’s best interpreters and performers,
Catherine Russell, own each song as she sings with aplomb works by Ella
Fitzgerald, Louis Armstrong, Duke Ellington, Hoagy Carmichael, and more.

This CD is
a first class production all the way making it most enjoyable. It’s good
to have a library with music for any mood. Within six months, I have
gone from one extreme to another: the raucous Drunk-a-billy of Whiteboy
James to the silky smooth cognac sipping, romancing vocals of Catherine
Russell and music from a top-flight roll of band mates and session
players. Russell reassembled the team from her previous acclaimed CD,
“Inside This Heart of Mine.” On board are producer Paul Kahn, musical
director/arranger Matt Munisteri, and recording engineer Katherine
Miller. A who’s who of New York’s finest add horns, accordion, violin,
piano, bass, and drums.

A native
New Yorker born to musical royalty, Catherine Russell is a contemporary
Jazz and Blues vocalist singing in a warm, supple alto. Her father, the
late Luis Russell, was a pioneering pianist/bandleader and was Louis
Armstrong's long-time musical director. Her mother, Carline Ray, is a
one time Mary Lou Williams bassist and an outstanding vocalist who holds
degrees from both Juilliard and Manhattan School of Music. Catherine
herself has headlined on three continents at festivals and sold-out
venues like the Kennedy Center in Washington D.C.

Among the
classic pop oldies are Dorothy Fields and Jimmy McHugh’s “I’m in the
Mood for Love” and Jack Palmer and Spencer Williams’ “Everybody Loves My
Baby.” Lesser known numbers include Carmichael’s “Ev’ntide” and Duke
Ellington and Billy Strayhorn’s “I’m Checkin’ Out, Goom’bye.”

While the
smooth music is mainly focused elsewhere, there are a couple of Blues
numbers by Ivory Joe Hunter and Lillian Green. Hunter’s “Don’t Leave Me”
finds mid-tempo accompaniment for Russell’s poignant vocals. Matt
Munisteri provides a nice guitar solo just over Mark Shane’s piano.
Given a similar relaxed feel, Green’s “Romance in the Dark” simply
invites canoodling and spooning.
For some fun at a snappier pace, check the conversation between
Russell’s vocals and the horn of trombonist John Allred who literally
makes that ’bone talk in “I’m Checkin’ Out, Goom’bye.” Mary Lou
Williams’ “Satchel Mouth Baby” is a bouncy arrangement which has become
a staple of her live performance repertoire.

Gospel fans
are in for a real treat when Catherine’s 86-year-old mother Carline Ray
joins Russell for a simple, yet splendid reading of Sister Rosetta
Tharpe and Sister Marie Knight’s “He’s All I Need” to only piano backing
courtesy of Mark Shane.

A perfect
set closer begging a hit of the replay button is a swing number
popularized by Henry “Red” Allen “Whatcha Gonna Do When There Ain’t No
Swing?”. It joins another Swing-er “Wake Up and Live” made notable by
Cab Calloway.

There is a
time and place for everything, and when the time is right in the correct
place, this CD can’t help but become the perfect listening background
for intimate moments. Beyond that, it’s a rare treat to hear carefully
selected classic songs recorded richly on modern equipment. Best of all
are the pure, clear, and vulnerable vocals of Catherine Russell!

Reviewer
James "Skyy Dobro" Walker is a noted Blues writer, DJ, Master of
Ceremonies, and Blues Blast contributor. His weekly radio show "Friends
of the Blues" can be heard Saturdays 8 pm - Midnight on WKCC 91.1 FM and
at www.wkccradio.org in Kankakee,
IL.

Just when it was thought the Hendrix estate did a clean closet cleaning
of releasing the legendary musician’s recordings, they still manage to
unearth more material to add to a legacy that still looms larger than
life.

Recorded at a three night stand at Winterland in 1968 and taken from a
series of six shows, this four cd set presents this trio performing at a
musical zenith before falling apart as a unit months later. Hendrix’
mood is up-beat, talking and joking with the audience as if he was
really having a good time at that juncture of his career.

While bassist Noel Redding and drummer Mitch Mitchell are not endowed
with the musical prowess that Jack Bruce and Ginger Baker had in pushing
Clapton to great heights in Cream (who were breaking up when Hendrix was
taking the stage at Windterland), they still proved an adequate rhythm
section for a guitarist who pushed things to a breaking point. Whether
experimenting with feedback to create airy solos brushed with
psychedelic mayhem or bringing it back to the blues (as proven in the
earthy “Hear My Train A Comin”), it was that type of exploration that
defined the man for taking things to excess, on-stage as well as off.

And for being recorded 44 years ago, this set of music just smokes when
coming out of the speakers. Not surprising considering this package was
engineered and mixed by Eddie Kramer who was Hendrix’ co-visionary back
in the day. At the rate the Hendrix family keeps discovering more
recordings, its doubtful Kramer will ever get to enjoy the fruits of
retirement. For that man it’s a small price to pay to turn on a younger
generation just getting wind of the Hendrix legend.

While his performance of the “Star Spangled Banner” achieved notoriety
at the infamous Woodstock festival, he was already honing the patriotic
staple into its Vietnam effigy on-stage at Winterland. Special guest
appearance by Jack Casady, bassist with the than burgeoning Jefferson
Airplane shoots a blast of effervescent blues-rock into “Killin Floor.”
Rarely performed versions of “Manic Depression” and “Are You
Experienced” you can’t enough of with the later stretching itself to the
12 minute mark. Virgil Gonsalves from The Buddy Miles Express drops in
to add flute lines which are almost indecipherable in the mix. It might
be just as well. Take it in two ways: a terrific psychedelic journey or
your worst heroin nightmare.

The added bonus is a backstage interview taken from the Boston Garden
featured on the fourth cd. Hendrix speaks of his influences and what the
support unit the Experience was even though their final days were
shortly ahead of them.

Of all the odds and ends the Hendrix family discovers when they want to
clean up shop, this might just be crowned jewel of the recordings they
have stumbled on. And if it serves a purpose of getting a person psyched
up when the Hendrix Tribute Tour rolls into town, than you know you‘ve
gotten your money’s worth. Take it as a piece of history capturing a
musician whose star was on the rise only to crash too quickly due to
living in the fast lane and finally going over the edge.

Reviewer Gary Weeks is a contributing writer. He resides in Marietta,
GA.

Guitar Not So Slim is a band, not a person. Not only that, one does not
often associate Spain with blues music, but here we have a Spanish band
lead by an ex-pat Canadian, which offers a brand of blues that they, and
everyone associated with the band, can be justly proud of. They bring
you right-on music, steeped in blues and Americana, which, when you hear
this CD, will leave you asking for more.
The band features: Troy Nahumko (AKA: Troy Chandler) on guitar and
vocals, Canadian by birth with a long history (going back to age 17) of
playing blues and working with top musicians in North America; Moi
Martin on bass and vocals, who has an equally long history of working
with blues bands in Spain (and is the co-producer of this CD); Jose Luis
'Harmonica' Naranjo playing harp (he also plays trombone) who brings
sounds of jazz, west coast swing and even flamenco to his harmonica
work); and, all round percussionist with enormous experience of all
kinds of back line work, Lalo Gonzalez on drums.

The album is infused with and enlivened by some sensational piano/
Hammond work from Jim McKaba, from Jacksonville FL , plus some horns and
some additional piano/ organ/ Rhodes piano work by some great Dutch
musicians.

The album is Troy’s inspiration and bearing in mind that blues music has
always been a source of social commentary and protest and, given that
the bankers have brought Europe to its knees in much the same way as in
north America, railing about the bailouts and the consequent austerity
measures, is fully justified. The album allows Troy also to point to the
current obsession with plastic surgery, consumerism and (bringing it
home) the alleged laziness of Spaniards. On a personal level Troy gives
us two instrumentals Adarveing (pronounced Ar-dar-vey ing) which is a
catchy guitar-led piece about the street on which Troy lives, Adarve del
Cristo in Caceres, en Espana, and, La Pequena Nur (Little Nur), Nur
being the name of Troy’s newly born daughter.

There are many examples of dazzling musicianship on the album, Is That
You…”I’ve Been wondering is that you”, comes with a terrific arrangement
complete with super keyboard break and a driving horn section; Never
Been Younger is worth listening to for the sax solo(s) alone; They’re
Doing Fine sounds like Jimmy Reed in the 21st Century, comes with a
fabulous piano part and is like a re-energised version of Reed’s, When
You’re Doing Alright.

This is a fine band that deserves a big audience well beyond the
confines of Spain. On their Reverbnation page there is a Bring This Band
To London button. I’ve clicked it already!

Reviewer Ian McKenzie lives in England. He is the editor of Blues In The
South (www.bluesinthesouth.com)
a monthly flier providing news, reviews, a gig guide and all kinds of
other good stuff, for people living and going to gigs along the south
coast of England. Ian is also a blues performer (see
www.myspace.com/ianmckenzieuk) and has two web-cast regular blues
radio shows. One on www.phonic.FM
in Exeter (Wednesdays: 1pm Eastern/ 12 noon Central), the second on
KCOR – Kansas City Online Radio
(on Fridays at 1pm Eastern/ 12 noon Central).

We begin accepting
submissions from labels and artists on March 1st. Artist do not
necessarily have to submit their releases to be considered but any
that do will have their recordings actually screened by the nominators.
(Our Nominators can't nominate something they haven't heard!)

We have 30 nominators so you need to send 30
individual copies to be considered before April 15th, 2012. Any
received after that date may not get sent to the nominators.

There is no charge for this. We will
cover the cost and effort to get your eligible CD or DVD release
into the hands of the nominators if you send them in. We reserve the right to change this policy in
future years. CD's received after April 15th, 2012 may not reach the nominators so hurry
and get your submissions in today! For complete details,
CLICK HERE

Nominators begin submitting their nominations May
1st and final nominations will be announced after May 31st, 2012.
Voting Begins in July.

Dutchman Hans Thessink has been around on the European scene for many
years, producing well over a dozen albums. He is less well known in the
States but was a popular performer on the January 2010 Blues Cruise
which he undertook with frequent collaborator Terry Evans. Now resident
in Austria, Hans was approached by local filmmaker Hannes Rossacher to
produce the music to a film that he was making – an adaptation of the
medieval morality play “Everyman” (“Jedermann” in German), hence the
title of this album.

Hans is predominantly an acoustic player with particular expertise on
slide. He sings in a deep and pleasing voice and throughout this album
his vocals are terrific. The material was selected to suit the scenes in
the film which deals with God, the Devil and death and is made up of
judiciously selected covers and some original songs. Among the tunes
covered are The Rolling Stones, Joe South, Johnny Cash, Tom Waits, Ray
Charles, Curtis Mayfield, Bo Diddley and Hank Williams – quite a
disparate set at first sight. However, the songs all fit well into the
themes of the film. In three cases Hans drew on previous albums and the
versions of Memphis Slim’s “Mother Earth”, Curtis Mayfield’s “People Get
Ready” and his own “Cuckoo” all come from earlier albums. One big plus
of this is that “Mother Earth” and “Cuckoo” feature the vocals of Terry
Evans and Bobby King, former bandmates of Ry Cooder and always a treat
for the ears.

Although there is wider instrumentation on some tracks, this is
essentially a solo effort. The CD opens with Tom Waits’ “Down In The
Hole” and its refrain of “You’ve gotta keep the devil down in the hole”
sets the tone for the album. It is followed by Johnny Cash’s “The Man
Comes Around” and Jagger/Richards’ “No Expectations” that is given a
particularly stark reading. Bo Diddley’s “I’m A Man” offers a little
lighter relief before Nick Lowe’s “The Beast In Me” appears. Traditional
song “Satan, Your Kingdom Must Come Down” is given a nice treatment with
slide guitar and banjo (possibly both played by Hans) and a choir of
female backing vocalists.

Hans then offers us a trio of original compositions. “Cuckoo” is a very
slow blues with lots of backing vocals. “Ready For The Ride” is
something of a matched pair with the earlier Cash piece: “You can run,
run, run, sure can’t hide; when the Master calls your number, better be
ready for the ride.” “Mother’s Advice” turns out to be to warn of the
temptations of the Devil and to try to be a good man – turns out to have
been good advice in this play’s case!

Ray Charles’ “I Got A Woman” is taken at a slightly more sprightly pace
than much of the CD though not at the pace of the hot little number we
all know and love. Nevertheless it acts as something of a release of
pressure before we return to the central theme in the next three
numbers. First up is an adaptation of traditional song “You Gonna Need
Somebody On Your Bond” in which Hans’ vocal is supported by a lovely
harmony vocal from Meena Cryle. That is followed by Hank Williams’ “The
Angel Of Death” and Memphis Slim’s “Mother Earth” which make as chilling
a pairing as anyone could imagine. “Mother Earth” is given a funereal
reading which makes the lyrics even more depressing. Terry Evans’
co-vocal here is a highlight. “Call Me” is another Thessink original
which, with its keyboards and percussion, is one of the pieces with
greater instrumental colour. “Oh Sinner Man” is a traditional tune with
a very familiar refrain.

The CD closes with an interesting trio of songs. Curtis Mayfield’s
“People Get Ready” is a personal favourite of mine and this is another
good version, the song expressing the simple faith of the believer. If
the end of the film was a positive ‘feelgood’ ending that might have
been a fitting finale, but we then get “Sympathy For The Devil” (Jagger/Richards)
and “Games People Play” (Joe South) to end the CD. Both appear in quite
long versions, the Stones tune clocking in at over 7 minutes, by far the
longest tune on the album. It offers plenty of opportunity to hear Hans’
slide guitar skills and, somewhat surprisingly, retains the ‘woo-hoos’
of the original coda. Joe South’s classic is played pretty straight with
the sound of accordion and pump organ enlivening the sound. Given the
nature of the film this seems an excellent trio of songs to end on.

Hans Thessink has produced a superb set of songs to accompany a film
that deals with such serious themes. The quality of the singing and
musicianship is high and should appeal to quite a wide range of tastes.
Whilst this is not strictly a blues album it is informed throughout by a
blues feel and merits our serious consideration.

Reviewer John Mitchell is a blues
enthusiast based in the UK. He also travels to the States most
years to see live blues music and is currently planning a visit to the
Tampa Bay Blues Festival.

The Great Northern Blues Society is putting on our annual
Fundraising Show “Blues Café’ 2012” on 3/31/12 at the Rothschild
Pavilion near Wausau, WI. Chris Duarte’, Albert Castiglia, Howard &
the Whiteboys, Jumpship Blues Band, and Donnie Pick & the Road band
will be performing from 1:00PM – 11:00PM.
www.gnbs.org for further
information. $15 in advance - $20 at the door.

The Phoenix Blues Society is proud to announce that its 21st annual
Blues Blast Festival will be held on Saturday, March 10th, 2012 at
the Margaret T. Hance Park located at 200 East Moreland in Phoenix.
Appearing at Blues Blast will be, Sugar Ray and the Bluetones, The
Sugar Thieves, Big Daddy D & the Dynamites, George Bowman the
Baddboyz Blues Band featuring Lucius Parr, Common Ground Blues Band
and Dave Riley and Bob Corritore. The gates will open at 10:00 A.M.
for Blues Blast and the Festival will run from 11:00 A.M. to 6:00
P.M. The website for Blues Blast is
www.bluesblast.info and all
ticketing for the event is being facilitated by Eventbrite at
www.bluesblast.eventbrite.com.
For further information, please feel free to contact Phoenix Blues
Society President, Kyle Deibler, at phxbluesprez@cox.net or on his
cell at 602.770.5936.

The Dayton Blues Society & Team Vanderpool will be holding our 3rd
Annual Benefit for the American Cancer Society on March 3rd at
Gilly’s (corner of 5th & Jefferson in Dayton, Ohio). This year’s
event is called “Ladies of the Blues” and features: Cheryl Renee
from Cincinnati (Placed 3rd at the IBC in 2010 w/ Them Bones), Inner
City Blues Band from Columbus, Ellie Lee & Blues Fury (Dayton
Challenge winner – 2010 / Pomeroy Challenge winner – 2011), Miss
Lissa & Company (Cincy Blues Society Challenge winner 2011), Music
begins at 6pm – For more details go to
www.daytonbluessociety.com

The Illinois Central Blues Club's 26th Anniversary Celebration will
be Saturday, March 10, 2012, at the Knights of Columbus Hall, 2200
S. Meadowbrook, Springfield, IL from 7:30 pm to 12:00 am. Kicking
off the celebration at 7:30pm will be local favorites Tombstone
Bullet, the ICBC 2011 Blues Challenge winners with Lil’Ed and the
Blues Imperials taking the stage at 9:30pm.

This event serves as a fund raiser for the ICBC’s “Blues in the
Schools” programs which bring live blues music and oral history of
the blues to children and adults in the community. The admission fee
is $8.00 for members and $10 for non-members.

On Saturday, March 3rd it's the Diamond State Blues Society presents
the
15th Annual House Rockin' Party. Opening the show at 3pm will be
Nuthin' But Trouble, followed by Florida's great Blues Guitarist,
Albert Castiglia, and headlining the show is the ironman himself,
the phenomenal Michael Burks! Full details can be found at
www.DiamondStateBlues.com

The West Michigan Blues Society and radio station WYCE 88.1 FM
present the 2012 Cabin Fever Blues Series at Billy's Lounge 1437,
Wealthy St. SE Grand Rapids, MI. Up coming shows include March 3 The Chicago Rhythm & Blues Kings. Tickets are
$10.00 per show at the door only. Doors at 7:00 PM Music at 9:30 PM.
Info at: www.wmbs.org

This one
gets off to a rockin' start as our favorite band from Monroe, WI
delivers a high octane performance on "HaDaya HaDaya" that illustrates
everything that makes this band special – tight musical interplay, a
blazing hot horn section and Jimmy Voegeli's spirited vocals and
keyboard work. Drummer Mauro Magellan was an original member of the
Georgia Satellites - his fellow band member, Dan Baird, adds his guitar
to the track along with Warner Hodges of Jason & the Scorchers fame, who
lays down a brief but incendiary guitar solo.

Voegeli
wrote all of the songs for this project. He recorded two of the songs
during his lengthy stint as a member of the Westside Andy/Mel Ford Band.
The latest version of "Girl All Woman" emphasizes the New Orleans R&B
elements of the song, with the tenor sax solo from Bryan Husk driving
home the point. Bun E. Carlos of Cheap Trick contributes some cowbell to
the track. "Love Will Find a Way" has a driving rhythm from Magellan and
bassist Johnny Wartenweiler. Voegeli plays some rollicking piano lines
and Ken "Birddog" Olufs gets a chance to showcase his skill on the
harmonica. The horns bring an extra layer of liveliness to the track.

The pace
slows on "Baby's So Fine" with Voegeli's compassionate vocal one of the
disc's highlights, surrounded by the majestic sounds of his Hammond
organ and a sympathetic alto sax solo from Peterson Ross. Baird's slide
guitar on "She Don't Love Me" has the band sounding like the classic
version of Little Feat. The instrumental "Jimmys Groove" establishes a
blue-funk feel with the band's guitarist, Dave Potter, playing some of
his always tasteful licks. Voegeli stars again on the organ as the horn
section blasts away in the background and Carlos sits in on drums. "JiMo
Boogie" features Magellan as the sole support for Voegeli's extended
piano solo that again highlights the influence of the New Orleans piano
tradition on his style along with a few hints of ragtime piano. Voegeli
switches to the Rhodes electric piano on "All I Ask" and Potter gets a
another chance to shine.

There are
two songs that show the group's versatility as well as proving that they
aren't afraid to move beyond more traditional material. The soulful
"Hell or Heaven" has a mainstream rock sound with soaring vocals, a
dynamic horn chart and a miin-guitar army comprised of Baird, Hodges and
Billy Flynn. Baird plays a succinct solo at the mid-point before Flynn
brings you home with some exquisite playing that captures the B.B. King
sound. There is a second, shorter version of this track at the end of
the disc, intended for radio play. "The Tree" is a distinct departure
from the rest of the disc. Voegeli and his wife, Laura, often visit her
mother. There is a small cemetery nearby that the couple often strolls
through. They always pass by a grave that sits under a Yew tree. The
song is Voegeli's imagining a possible storyline that ties together the
departed soul and the tree. His dark, gloomy vision tells the tale of a
father's love and sacrifice for his daughter, that later brings
additional tragic consequences. The string section comprised of Chris
Wagoneron on violin & viola and Mary Gaine on cello and parlor bass help
establish the haunting mood. The Amateur Horn Stars - Husk, Ross and
Chad Whittinhill on trumpet & flugelhorn - also make key contributions.

If you have
caught one of the Jimmys live shows, you know what to expect from this
disc - and you won't be disappointed. There is plenty of the band's
upbeat, good-time music that they are famous for. Some might be slightly
disappointed at the number of high-profile, special guests. But they all
make solid contributions without impacting what the Jimmys are all
about. And every band needs to find an edge that helps with their
marketing. When you have a collection of musicians this talented, and a
front man with the charisma of Jimmy Voegeli, you are guaranteed plenty
of musical fireworks. This is a fine first effort and has me already
anxiously awaiting the next Jimmys recording

ReviewerMark
Thompson is president of the
Crossroads Blues
Society in Rockford. IL. He has been listening to music of all kinds
for fifty years. The first concert he attended was in Chicago with The
Mothers of Invention and Cream. Life has never been the same.

One would
think with this Canadian band choosing the moniker of Carolyn Fe Blues
Collective that they would play blues music, when in fact their songs
owe more to the Pat Benatar-Debbie Harry school of tough-girl rock,
although with blues-rock and/or blues guitar on most occasions. The
guitar-bass-drums-keyboards backing is strong and energetic throughout.
Carolyn’s lyrics are cocky and world weary, but could use more emotion
in the delivery. Guitarist George Papafilys has a trick bag of dive-bomb
runs, shredding, squeals and what-not to make the proceedings
interesting. The production by Carolyn and drummer Dan Legault is crisp
and clean with all aspects of the sound clearly discernible at all
times.

The title
track leads with acoustic guitar morphing into distorted electric
guitar, turning into a crunchy and chugging blues-rock number with nice
and soulful Memphis-style organ underpinnings by Tim Alleyenne. The
cricket sound effects stay “too long at the fair” and become a
distraction.

“Broken
String” is all Z.Z. Top Texas guitar strut with the guitar poised and
ready to strike at any moment. Some nice John Fogerty “Born On The
Bayou” guitar riffing is a feature of the tale of an unsavory boyfriend,
“Devil’s Fool”. For some strange reason some mostly indecipherable male
spoken word is interjected about two minutes in. The band has blues
knowledge, but don’t always hit the mark. They manage to use a close
cousin of Willie Dixon’s “Wang Dang Doodle” riff as the basis for the
kiss-off tune “Don’t Be Sad” to good effect. The stripper drumbeat is
employed on “Rant”, that is exactly what the name implies, telling an ex
“Where the yellow went”. It’s also curious in its’ use of a talk box,
the thingy Peter Frampton used on some of his hits, a device I’ve hardly
seen in blues-rock.

“Manual
Overdrive” is a laundry list of truck metaphors for sex play. Here as
elsewhere George Papafilys supplies some nifty guitar lines, along with
more greasy organ from Tim Alleyne. The closest foray to real blues
territory is the aptly named, “You And Me And The Blues”, were the
guitars teeter between blues and blues-rock twiddling. Synth-strings
that sound if they came from an arsty-fartsy alternative rock band lead
off “Adja Wali” that sounds like Stevie Nicks if she was a Native Indian
pop star. It amounts to guilty pleasure pop-fluff. Traded off rapid-fire
blues-rock guitar riffs with the organ are worth the price of admission
to “Bow Wow”, as the singer longs for the return of her lover. The
closing tune, “Some More”, is all Pat Benatar swagger and attitude.

If you’re
looking for the blues, this isn’t the place to look. On the other hand,
if you think Foghat is a blues band, then this is a good place to get
your fix of well executed blues-rock which owes a debt to some of the
lower tier classic rockers. The band does what it does and commits
itself well.

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